The knobs and pads respond well and colour is both wisely and tastefully employed: no button or control lights up unless there’s a good reason for it. Brute or beaut, it looks exactly as a drum machine should, which is to say its controls have plenty of operating room and in most cases perform only a single function. Its name makes sense though after all, it’s a hulking and substantial (3kg) metal beast, threatening to smaller drum machines. To my knowledge, the DrumBrute is currently the sole member of the Brute family not fitted with Brute Factor (a versatile filter distortion). If you aren’t pinching yourself already, that might change when you learn the answer. Having taken a moment to feast your eyes and let it all sink in, you might be interested to learn how much it will cost. Reaping the rewards of past product development, Arturia opted for a 12dB dual-mode Steiner-Parker filter, velocity-sensitive pads, performance effects and a set of clear, readily-accessible synchronisation options. And just in case some of its sounds can’t be massaged into the right shape with the generous array of knobs, there are a dozen individual outputs. Its panel is spacious, confident and serious and its sequencer is equally suited to real-time or step-time programming. The DrumBrute isn’t some shy, miniature, apologetic first attempt. This, it transpires, was only the beginning because, having fixed everyone’s attention on the looming MatrixBrute, another analogue product - a drum machine - was quietly announced, to the sound of jaws dropping everywhere. And it’s really rather good.Īfter years spent carefully emulating analogue in software, Arturia made their first move into pure hardware with the MiniBrute. Arturia’s new drum machine features 17 analogue voices and a mildly astonishing price tag.
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